ussāvana
-- (nt.) [= ussāpana] proclamation (of a building [p158]
as legal store house); in ˚antika within the proclaimed limit Vin
i.239.
Contents of this page
ussāsa
-- see [nirussāsa](nirussāsa).
ussāha
-- [Sk. utsāha & utsaha, see ussahati] strength, power, energy; endeavour, good
-- will M ii.174; S
v.440; A i. 147;
ii.93, 195; iii.75, 307;
iv.320; v.93 sq.; Miln 323, 329 (dhiti
+) Vism 330; Sdhp 49, 223, 535, 619; SnA 50; DhA
iii.394; PvA 31, 106, 166; VvA 32, 48. -- In exegetical
literature often combd. with the quâsi synonym
ussoḷhi e. g. at Nd2 s. v.; Dhs 13, 22, 289, 571.
ussāhana
-- (f.) [fr. ussahati cp. BSk. utsahana Divy 490] = ussāha Nett 8.
ussāhita
-- [pp. of ussāheti, Caus. of ussahati] determined, incited, encouraged, urged J
i.329; VvA 109; PvA 201. Cp. sam˚.
ussiñcati
-- [ud + sic] to bale out, exhaust J
i.450, ii.70;
iv.16; Miln 261.
ussiñcana
-- (nt.) [fr. ussiñcati] drying, baling out, raising water, exhausting J
i.417.
ussita
-- [Sk. ucchrita, pp. of ud + sri, see ussāpeti] erected, high S
v.228; Th 1, 424 (pannaddhaja); J
v.386; Vv 8415; VvA 339. Cp.
sam˚.
ussīsaka
-- (nt.) [ud + sīsa + ka] the head of a bed, a pillow for the head J
i.266; ii.410, 443;
iv.154; v.99;
vi.32, 37, 56; DhA i.184 (˚passe,
opp. pāda -- passe).
ussuka
-- (adj.) [Sk. utsuka, also BSk. e. g. Jtm 3168] --
1. endeavouring, zealous, eager, active S
i.15 (an˚ inactive); A iv.266; Sn
298. -- 2. greedy, longing for Dh 199 (an˚).
ussukita
-- (adj.) = ussukin; only neg. an˚ free from greed VvA 74.
ussukin
-- (adj.) [fr. ussuka] greedy, longing; only neg. an˚ Pug 23.
ussukka
-- (nt.) [*utsukya fr. ussuka; cp. BSk. utsukya Divy 601 and autsukya Av. Ś
i.85] zeal, energy, endeavour, hard work, eagerness Vin
i.50; S iv.288, 291, 302; Nd2
s. v. Nett 29; VvA 147; PvA 5, 135; Vism 90 (āpajjati); 644 (˚ppahānaŋ). -- Cp.
appossukka.
ussukkatā
-- (f.) = ussukka A
y.195.
ussukkati
-- [denom. fr. ussukka] to endeavour D i.230. - Caus. II.
ussukkāpeti to practice eagerly, to indulge in, to perform VvA 95, 98,
243. See also ussakkati.
ussuta
-- (adj.) [pp. of ud + sru, cp. avassuta] defiled, lust- ful (cp. āsava),
only neg. an˚ free from defilement Dh 400.
Ussuyā,
Ussuyaka
ussuyā, ussuyaka, uss.
ussussati
-- [ud + sussati of śuṣ] to dry up (intrs.) S
i.126; iii.149 (mahāsamuddo u.);
Sn 985; J vi.195.
ussūra
-- (adj) [ut + sūra] "sun -- out", the sun being out; i. e. after sunrise or
after noon, adverbially in ˚bhatta eating after mid -- day, unpunctual
meals A iii.260, and ˚seyyā sleep after sunrise,
sleeping late D iii.184; DhA
ii.227. Besides as loc. adv. ussūre the sun having
been up (for a long time), i. e. at evening Vin i 293;
iv.77; J ii.286, also in ati --
ussūre too long after sunrise VvA 65; DhA
iii.305.
usseti
-- [ud + śri] to erect, raise, stand up J
iv 302; aor. ussesi J
vi.203. -- Caus. ussāpeti; pp. ussita &
ussāpita (q. v.).
usseneti
-- [denom. fr. ussena = ussayana, ud + śri (?)] to draw on to oneself, to
be friendly S iii.89 (v. l. ussi˚); A
ii.214 sq. (opp. paṭisseneti); Ps
ii.167 (ussi˚); Kvu i. 93 (reading
ussineti + visineti). See also paṭiseneti.
usseḷheti
-- (?) Vin ii.10 (for ussoḷh˚?); cp. ussoḷhikāya.
ussota
-- (adj.) [ud + sota] nt. ussotaŋ as adv. "up -- stream" Miln 117.
ussoḷhi
-- (f.) [a by -- form of ussāha fr. ud + sah, pp. *soḍha dialectical]
exertion M i.103; S
ii.132; v.440; A.
ii. 93, 195; iii.307;
iv.320; v.93 sq. Often comḅd.
with ussāha (q. v.).
ussoḷhikā
-- (f.) [adj. of ussoḷhi] belonging to exertion, only in instr. as adv.
ussoḷhikāya "in the way of exertion", i. e. ardently, keenly, eagerly S
i.170 (naccati).
Uhunkara
uhunkara
-- [onomat. uhu + kara, see under ulūka] an owl (lit. "uhu" -- maker) J
vi.538 (= ulūka C.).
Contents of this page
From Wikipedia:
http://en.wikipedia.org/wiki/Ascaris 111222
Ascaris is a genus of parasitic nematode worms known as the
"giant intestinal roundworms". One species, A. suum, typically infects
pigs, while another, A. lumbricoides, affects human populations,
typically in sub-tropical and tropical areas with poor sanitation. A.
lumbricoides is the largest intestinal roundworm and is the most common
helminth infection of humans worldwide, an infection known as ascariasis.
Infestation can cause morbidity, and sometimes death, by compromising
nutritional status, affecting cognitive processes, inducing tissue reactions,
such as granuloma, and provoking intestinal obstruction or rectal prolapse.
Go back ascaris-note-b
Contents of this page
Excerpt from Wikipedia:
http://en.wikipedia.org/wiki/Head_louse 111224
Head
lice, like other insects of the order Phthiraptera, are hemimetabolous.[1][9]
Newly hatched
nymphs will moult three times before reaching the sexually-mature adult
stage.[1]
Thus, mobile head lice populations contain members of up to four developmental
stages: three nymphal
instars, and the adult (imago).[1]
Metamorphosis during head lice development is subtle. The only visible
differences between different instars and the adult, other than size, is the
relative length of the abdomen, which increases with each molt.[1]
Aside from reproduction, nymph behavior is similar to the adult. Nymphs feed
only on human blood (hematophagia), and cannot survive long away from a host.[1]
Like adult head lice, the nymph cannot fly or jump.
Go back lice-note-b
Contents of this page
-- by UKT 111229
I have been intrigued by a grapheme such as
.
Is it a conjunct or a medial? It can be either
{oay~ya.}, or,
{u.yya.}.
UHS spells Pali words such as «uyyāti» as
{U.yya-ti.}.
Remember 
{yya.}
is the {a.wag}-consonant
{ya.}
/j/ - don't take it to be a semivowel - modified by the medial-grapheme
{-ya.}.
The killed-consonants of the {a.wag}-group have been a problem in
pairs of words such as
{ko}
& 
{koý},
and, 
{bo}
& 
{bol}. In these pairs, the vowel checked by killed {a.wag}-consonant does
not undergo a change. Thus,
{ko}
& {koý}
are pronounced the same. Similarly,
{bo}
&
{bol} have the same pronunciation. Both
{ko} and
{bo} can
have three registers, the creak, modal and emphatic, whereas
{koý}
and
{bol} each has only one register. In this respect,
{koý}
and
{bol} are like any other CVÇ syllable.
We do not have any reliable transcription guide lines for words such as Tao (from Chinese
religion Taoism). I am proposing to use killed {a.wag}-consonants, e.g. Tao
to be 
{tauw}
[at present Tao is transcribed as
{tauk}].
Notice that
{w} is the killed-consonant
{wa.} in
the coda position.
Go back killed-awag-note-b
Contents of this page
I have heard about this Third Eye since I was a child from my father, U
Tun Pe, a former member of the Theosophy Society, Burma. According to my
father, who had done a bit of meditation (concentration) under the tutelage
of his mentor, U Kyaw Dun (I was named after him), this area gets hot as
your concentration develops. However, unless you are under the watchful eye
of a meditation master, and unless your morality is above a certain level,
this kind of meditation can alter your mind to extent of total madness. --
UKT111223
From:
http://www.crystalinks.com/thirdeyepineal.html 111223
The
pineal gland (also
called the pineal body, epiphysis cerebri, epiphysis or the "third eye") is a
small endocrine gland in the vertebrate brain. It produces melatonin, a hormone
that affects the modulation of wake/sleep patterns and photoperiodic (seasonal)
functions.
The pineal gland is located near to the center of the brain, between the two
hemispheres, tucked in a groove where the two rounded thalamic bodies join.
Unlike much of the rest of the brain, the pineal gland is not isolated from the
body by the blood-brain barrier system. It is reddish-gray and about the size of
a pea (8 mm in humans), located just rostro-dorsal to the superior colliculus
and behind and beneath the stria medullaris, between the laterally positioned
thalamic bodies. It is part of the epithalamus. It is a midline structure, and
is often seen in plain skull X-rays, as it is often calcified. Calcification is
typically due to intake of the fluoride found in water and toothpaste. It was
the last endocrine gland to have its function discovered.
The pineal gland's location deep in the brain seems to intimate hidden
importance. In the days before its function as a physical eye that could see
beyond space-time was discovered, it was considered a mystery linked to
superstition and mysticism.
Today it is associated with the sixth
chakra whose awakening is
linked to prophecy and and increased psychic awareness as consciousness ascends.
UKT: More in the original article.
Go back Pineal-gland-note-b
Contents of this page
From Wikipedia:
http://en.wikipedia.org/wiki/Saraswati_veena 111227
The
Saraswati veena (also spelled Saraswati vina) is an Indian plucked
string instrument. It is named after the Hindu goddess Saraswati, who is usually
depicted holding or playing the instrument. Also known as raghunatha veena
(veena also spelled 'vina', Tamil: வீணை,Sanskrit:
वीणा (vīṇā), Kannada: ವೀಣೆ, Malayalam: വീണ,
Telugu: వీణ) is used mostly in Carnatic
Indian classical music. There are several variations of the veena, which in its
South Indian form is a member of the lute family. One who plays the veena is
referred to as a vainika.
It is one of the three other major types of veena popular today. The others
include vichitra veena and rudra veena. Out of these the rudra and vichitra
veenas are used in Hindustani music, while the Saraswati veena is used in the
Carnatic music of South India. Some people play traditional music, others play
contemporary music.
History
The veena has a recorded history that dates back to the Vedic period
(approximately 1500 BCE)
In ancient times, the tone vibrating from the hunter's bow string when he
shot an arrow was known as the Vil Yazh. The Jya ghosha (musical sound of the
bow string) is referred to in the ancient
Atharvaveda. Eventually, the archer's bow paved the way for the musical bow.
Twisted bark, strands of grass and grass root, vegetable fibre and animal gut
were used to create the first strings. Over the veena's evolution and
modifications, more particular names were used to help distinguish the
instruments that followed. The word veena in India was a term originally used to
generally denote "stringed instrument", and included many variations that would
be either plucked, bowed or struck for sound.[1][2]
The veena instruments developed much like a tree, branching out into
instruments as diverse as the exotic harp-like Akasa (a veena that was tied up
in the tops of trees for the strings to vibrate from the currents of wind) and
the Audumbari veena (played as an accompaniment by the wives of Vedic priests as
they chanted during ceremonial Yajnas). Veenas ranged from one string to one
hundred, and were composed of many different materials like eagle bone, bamboo,
wood and coconut shells. The
yazh was an ancient
harp-like instrument that was also considered a veena. But with the developments
of the fretted veena instruments, the yazh quickly faded away, as the fretted
veena allowed for easy performance of
ragas and the
myriad subtle nuances and pitch oscillations in the
gamakas prevalent in the Indian musical system.[2]
As is seen in many Hindu temple sculptures and paintings, the early veenas were
played vertically. It was not until the great Indian Carnatic music composer and
Saraswati veena player
Muthuswami Dikshitar that it began to be popularized as played horizontally.
"The current form of the Saraswati veena with 24 fixed frets evolved in
Thanjavur,
Tamil Nadu, during the reign of
Raghunath Nayak and it is for this reason sometimes called the Tanjore veena,
or the Raghunatha veena. Prior to his time, the number of frets on the veena
were less and also movable." - Padmabhooshan Prof. P. Sambamurthy, musicologist.[3]
The Saraswati veena developed from Kinnari Veena. Made in several regions in
South India, those made by makers from Thanjavur in the South Indian state of
Tamil Nadu are to date considered the most sophisticated. Sangeeta Ratnakara
calls it
Ekatantri Veena and gives the method for its construction.
While the Saraswati veena is considered in the lute genealogy, other North
Indian veenas such as the Rudra veena and Vichitra veena are technically
zithers.
Descendants of
Tansen reserved Rudra Veena for family and out of reverence began calling it
the Saraswati Veena.
Religious associations
The patron Hindu Goddess of learning and the arts, Saraswati, is often
depicted seated upon a swan playing a veena. Lord Shiva is also depicted
playing or holding a vina in His form called "Vinadhara," which means "bearer of
the vina." Also, the great Hindu sage
Narada was
known as a veena maestro.[4]
and refers to 19 different kinds of Veena in
Sangita Makarandha. Ravana, the antagonist of the Ramayana, who is also a
great scholar, a capable ruler and a devoted follower of Shiva, was also a
versatile veena player. [UKT ¶]
Scholars hold that as Saraswati was goddess of learning,
the most evolved string instrument in a given age was placed in her hands by
contemporary artistes.
UKT: On the right is a modern version [from the Internet] of the goddess.
The Ramayana, the Bhagavata and Puranas all contain references to the Veena,
as well as the
Sutra and the
Aranyaka.
The Vedic sage
Yajnavalkya speaks of the greatness of the Veena in the following verse:
"One who is skilled in Veena play, one who is an expert in the varieties of
srutis (quarter tones) and one who is proficient in tala attain salvation
without effort."[5]
Many references to the veena are made in old Sanskrit and Tamil literature,
and musical compositions. Examples include poet
Kalidasa's epic Sanskrit poem
Kumarasambhava, as well as "veena venu mridanga vAdhya rasikAm" in Meenakshi
Pancharathnam, "mAsil veeNaiyum mAlai madhiyamum" Thevaram by Appar.[6]
Each physical portion of the veena is said to be the seat in which subtle
aspects of various gods and goddesses reside in Hinduism. The instrument's neck
is Shiva, the strings constitute his consort, Parvati. The bridge is Lakshmi,
the secondary gourd is Brahma, the dragon head Vishnu. And upon the resonating
body is Saraswati. "Thus, the veena is the abode of divinity and the source of
all happiness."- R. Rangaramanuja Ayyangar[7]
UKT: More in Wikipedia article
Myanmar varieties
by UKT 111227
Whenever we mention
{saung:} we always think of the Burmese harp aka
{saung:kauk}.
There are other varieties also: such as {byûp-saung:} and {mi.kyaung:saung:}.
But none were placed in the hands of the Myanmar equivalent of Saraswati.
Traditionally we consider musicians to be socially inferior to the scholars, and
Saraswati always holds in her hand a {ka.lût} and three palm-leaf manuscripts
denoting the Three Baskets or {ti.pi.Ta.ka.}. We take our goddess or Déwi to be the
caretaker of the Buddhist scriptures and therefore a scholar, rather than to be
a mere musician.
Edited from Wikipedia:
http://en.wikipedia.org/wiki/Saung 111227
The saung
{saung:}
aka
{saung:kauk}; Burmese harp, or Myanmar harp) is an arched harp
used in traditional Burmese music. The saung is regarded as a national musical
instrument of Burma. The saung is unique in that it is a very ancient harp
tradition and the only surviving harp in Asia today.[1]
UKT: More in Wikipedia article
Go back Saras-veena-note-b
Contents of this page
Excerpt from: The Early Buddhist Teaching On the Practice of the Moral
Life by Y. Karunadasa, Fall 2001 Chairholder, The Numata Chair in
Buddhist Studies, Calgary, Alberta.
http://www.ucalgary.ca/numatachair/files/numatachair/Karunadasa_2001.pdf
111222
The early Buddhist view of reality is sought to be presented as a critical
response to two other views. Thus, addressing Kaccayana, the Buddha says:
“This world, O Kaccayana, generally proceeds on a duality, of the ‘it is’
and the ‘it is not’. But, O Kaccayana, whoever perceives in truth and wisdom
how things originate in the world, in his eyes there is no ‘it is not’.
Whoever, Kacayana, perceives in truth and wisdom how things pass away in the
world, in his eyes there is no ‘it is’.” 8
UKT: The fn#8 refers to Samyutta Nikaya, PTS (=SN.), II, 17 (Tr. from
Kindred Sayings). [need to be checked. -- UKT111222]
The two beliefs referred to above are very often introduced as sassatavada
and ucchedavada. Sassatavada means the view of permanence or the belief
in Being (bhava-ditthi), and ucchedavada, the view of annihilation or the belief
in non-Being (vibhava-ditthi). Early Buddhism presents these two views as
occupying a position of mutual opposition, while describing its own position as
one that sets itself off from both of them. It is, in fact, against these two
views that Buddhist polemics are continually directed and it is by demolishing
them that Buddhism seeks to construct its own view of the nature of existence.
The conclusion suggests itself therefore that it was as a critical response to
the mutual opposition between sassatavada and ucchedavada that the early
Buddhist view of existence was sought to be presented.
Go back Ucchedavada-note-b
Contents of this page
End of TIL file
{u.}
{oak}
{oag}
{oac} 
{oaz} 
{oañ}
{oaT}
{oað}
{oaN} 
{oat}
{oad}
{oan}
{u.pa.}
{u.pak}
{u.pa}
{u.pi.}
{u.pé}
{u.pau:}
{oap}
{oab}
{oam}
{ul}
{U.}
and the consonant
{ña.}.
that look so much alike and which the type-setters before the introduction
of computers had represented with the same grapheme. The result was utter
confusion unless you know the languages: Pal-Myan and Bur-Myan. The
confusion was exacerbated in Pal-Myan which does not allow
{a.þût} but only conjuncts. Since the second grapheme in the conjunct had to
be written in much smaller size, we usually cannot make out what the word
is. The obvious solution is to allow
-- UHS-PMD0197 
{U.ku.Na.}
-- UHS-PMD0197 
{OAk~kän-þa.} 
--
UHS-PMD0198 
{OAk~kûT~HTa.} =
--
UHS-PMD0198 
{OAk~kûN~Hta.ti.} 
--
UHS-PMD0198 
{OAk~ka.paiN~ða.ka.} 
-- UHS-PMD0198 
{OAk~ka.la.} 
--
UHS-PMD0198 
{OAk~ka}
-- UHS-PMD0198
{OAk~ka-sa.na}
--
UHS-PMD0199 
{OAk~ka-sé-ti.}
-
UHS-PMD0199 
accompanying my father U Tun Pe along the tidal creeks near Kungyangon - the
town where I was born. My father used to take me along on his inspection
tours as the Public Health Inspector of two large townships in his charge.
In the pix you see the boat carrying paddy aka unhusked-rice. That
space holding the paddy would be the space, where my father and I would be
sitting under a bamboo-mat made into a roof.
{OAk~ka-þi.ka} 
--
UHS-PMD0199 
{ré-þa.noap} - n. 1. same as {re-lè}. 2. monk's
waistcloth used for bathing in. - MED2006-398
{OAk~koaz~za.ti.} 
--
UHS-PMD0199 
{OAk~ku.Ti.ka.} 
--
UHS-PMD0199
{OAk~kau:Ta.na.}
{OAk~hki.ta.}
{OAk~hkait~ta.} 
{OAg~ga.}
{OAg~GûT~Ta.} 
{OAc~sa.}
{OAc~sa}
{OAc~sa-laïn~ga.} 
--
UHS-PMD0203 
See my note on 
{þak-saung.þûn} 'life's guarding worm' showing how common the infestation
was. 
{OAc~hsa-da.na.} 
{OAc~hsu.}
{OAc~hsé-da.} 
-- UHS-PMD0204
{U.zu.}
{OAz~zag~Ga.ti.}
{OAz~Zag~gi.ka}
{OAz~Za-pa.na.}
--
UHS-PMD0205 
{OAñ~hsa.} =
{OAñ~ña} =
{OAT~HTa.ha.ti.} =
{OAð~ða.yha.na.} =
{OAN~Na.}
--
UHS-PMD0207
{OAN~Na.loän}-hair 
{mhwé:rhin-tau} - n. a single hair which grows between Buddha's
eyebrows. Also
{U.Nha.}
-- UHS-PMD0207 
{U.Nhût~ta.}
--
UHS-PMD0207 
{U.Nhi-þa.} 
-- UHS-PMD0208 
{U.tu.}
-- UHS-PMD0208 
{OAt~ta.}
{OAt~tût~ta.} 
{OAt~ta.ma.}
{U.traþ~ta.} 
{U.da.} 
{U.da.ka.}
{U.da.kic~hsa.}
{U.da.koam~Ba.} 
{U.dag~ga.}
{U.dïn~ga.Na.} 
-
UHS-PMD0213 
{U.diñ~za.la.} 
--
UHS-PMD0213 
{U.da.na.}
{U.dic~sa.} 
{U.doam~ba.ra.}
{OAd~da.}
{OAd~dûN~ða.} 
{OAd~da-na.}
{OAd~da-ra.} 
-
UHS-PMD0206 
{þûn:hpya.} 'nymph of head lice'
{OAd~Dän}
--
UHS-PMD0216 
{OAd~Da.ra.ti.} 
{OAd~Da-ra.}
{OAd~Du.na-ti}
{U.dra.Ba.ti.}
--
UHS-PMD0218 
{kûm~ma.} Skt कर्म «karma.»? If the answer is 'yes', then the pronunciation
of
{OAn~du.ra.} 
{U.pa.}
{U.pa.ga.ta.}
{U.pa.gûn~twa} 
-- UHS-PMD0220 
{rwÉ} :
{ruèý} pronounced as
/
/
/{rwé.}/ 
{U.pic~hsé-da.} 
{U.pûð~Ða.} 
--
UHS-PMD0223
{U.pa.Di.}
{U.pa.na-mé-ti.}
{U.pa.ni.þé-wa.na.}
{U.pa.naiþ~þa.ya.}
{U.pa.pa-ta.} 
{U.pa.ma} 
{U.pa.riz~za.} 
{U.pa.ra-za} -- UHS-PMD0229. See below.
{U.pa.wa-þa.}
{U.pa.wi-Na.} [UKT: need to chk PTS sp] 
--
UHS-PMD0232 
{U.pa.þûm~bya-na.} 
--
UHS-PMD0233
{U.pa-þa.ka.} 
{U.pík~hka.ka.} 
{U.pau:þa.hta.} 
--
UHS-PMD0237 
{OAp~pûb~biz~zi.ta.} 
--
UHS-PMD0238
{OAm~mût~ta.} 
{U.Lu.}
{U.þu.yya.ka.} 
{OAþ~ma.}
-->
{OAþ~þa}, the prefix in the name
{OAþ~þa pè:hku:}. It was one of the ancient Mon capitals at the time of King
Anawrahta of Pagan. The Mon kingdom sided with Anawrahta in his war with
Thaton another Mon kingdom. Historical facts to be checked. See also
{OAþ~þa.} [from